This year Kamelot celebrates 20 years as a card-carrying signed band, but it was just over 15 years past that they released a career game-changer, The Fourth Legacy. Their first two albums – Eternity and Dominion respectively – served to put Kamelot in the public eye, the third record (Siege Perilous) generated a buzz after they snapped up Conception vocalist Roy Khan to replace Mark Vanderbilt, but it was The Fourth Legacy that enthralled theit existing fans and roped in curious bystanders from far and wide. That momentum hasn’t stopped in spite of the occasional potholes in the road forward. Khan’s departure in 2011 could have destroyed the band – the fact he bolted a week before a major North American tour, forcing its cancellation, certainly didn’t help – but they regrouped and released Silverthorn a year later to rave reviews. With new singer Tommy Karevik on board, the album and tour that followed made it clear Kamelot had regained their stride, and the new Haven album is a clear cut example of a band unafraid of trying new things and potentially freaking out their fanbase while remaining loyal to the sound that made them.

“A lot of people that have been following us since The Fourth Legacy days have said this is the album they’ve been waiting for,” says guitarist Thomas Youngblood of Haven, easily the most diverse record in their catalogue. “Haven is more in line with what fans are used to with The Black Halo and even Karma, but it was really important for us to add new elements and bring the band a little bit more into today instead of giving them the symphonic thing from 10 years ago. That was a big part of it. We definitely didn’t want the album to be overly symphonic and I think we achieved all the goals we had going in.”

Truth be told Haven isn’t an easy listen at first even for the diehard fan, but once inside it’s very hard to leave. There are the signature attacks and flourishes one has come to expect of any Kamelot opus, but you get the feeling there was a meeting on the final day of mixing where the band members arm-wrestled their way bloody and broken to a final tracklist. Nothing about Haven is as one expects; some of the heaviest material (‘Liar Liar’ and ‘Revolution’) is shoved to the back half of the album, the signature ballad rewrites what we know about Kamelot’s penchant for pulling heartstrings, and much of the once-trademark symphonic attitude has been stripped back to make way for the band. Continue Reading

When Kamelot released Silverthorn in 2012 it was a make-or-break affair as they navigated the debris left behind following the ambitious yet ultimately stagnant Poetry For The Poisoned album and the departure of vocalist Roy Khan. A record loaded to the teeth with every weapon in the Kamelot arsenal, Silverthorn was perhaps too epic for its own good at times, but it succeeded in winning over the vast majority of fans left heartbroken and skeptical by Khan’s departure. Haven finds Kamelot trimming away a lot of the Silver-fat in favour of a sound more in line with The Fourth Legacy, Karma or The Black Halo, beefing up the guitar / bass / keys / drums while reducing the symphonics to a Use In Case Of A Damn Good Idea capacity. Vocalist Tommy Karevik is given far more space to shine on Haven compared to his Silverthorn debut, making for a much stronger album on that score alone.

All that said, fact is nobody is going to be mindblown by Haven the first time through (if you say you were, you’re a bullshit artist). It’s a gradual build with lead-off tracks ‘Fallen Star’ and ‘Insomnia’ – which don’t have the blow-the-doors of speed of previous album openers ‘Center Of The Universe’ and ‘Forever’ – groove-pounding the listener into the new Kamelot comfort zone (with no done-to-death orchestral track to kick things off… thank you). Interesting as well that the band waits four tracks to unleash Haven’s first stormer, ‘Veil Of Elysium’ – which sounds like the less evil twin to Silverthorn’s ‘Sacrimony’ – one of only two (!!) to be had on the entire album. And this is the addictive nature of Haven; for all the threads you can weave back to previous album, Kamelot keep you guessing as to what you’re going to get, and how and when it’s going to be served up. Unexpected and bloody impressive at this stage of the game. Continue Reading

Italian vocalist Fabio Lione first made his mark on the international metal scene in 1997 fronting Rhapsody – now known as Rhapody Of Fire for legal reasons – and holds that post to this day. Over the years, however, he has gained a reputation for being a reliable go-to replacement when circumstances make it impossible for a band to operate with their own singer. The most recent example of this was on Gamma Ray’s European tour, which featured Rhapsody Of Fire as support. Vocalist Kai Hansen was battling a serious case of bronchitis that threatened to derail the tour completely, but rather than pack it in they tapped several friends to fill in for Hansen at certain points of the nightly set. Lione pulled double duty for a good portion of the tour, performing a handful of songs for Gamma Ray on top of a full Rhapsody Of Fire set, hammering home performances that showcased just how formidable a vocalist he really is. It’s one thing to cover Helloween’s ‘Future World’ – a Gamma Ray staple that has been done to death – and quite another to nail ‘Empire Of The Undead’, a brand new song that Hansen himself has probably sung live less than 30 times.

Rhapsody Of Fire has been Lione’s top priority since the beginning, but in 2011 he was asked to front Kamelot on tour in place of Roy Khan who had bowed out (and eventually quit) for personal reasons. The Kamelot fanbase was quite naturally resistant to the idea of Lione behind the microphone, but by the end of the tour many fans agreed he had something significant to offer. In the end it was Seventh Wonder vocalist Tommy Karevik that got the job, but Lione’s ties to Kamelot are still intact.

“I love the guys in Kamelot,” says Lione. “I love the band, I love the crew, we had a beautiful tour. I think we did something like 49 shows together in North America, South America and Europe. The response in every place we played was great, so I know that it wasn’t easy for Thomas (Youngblood/guitars) to make the decision to choose someone else. Of course he preferred to get somebody that doesn’t already have a big band because it’s easier to manage the schedule without having to worry about what else is going on. In the end, I appreciate that we’re still really good friends. Thomas sends me emails every so often, he’s interested in doing a side-project with me, and I’m sure he’s happy with his decision to bring Tommy into the band.” Continue Reading

This interview took place towards the end of Kamelot’s 2013 European tour in support of their latest album, Silverthorn. By all accounts – band, fans, YouTube footage – it was a successful run that saw the band play to packed houses every night. The show on this particular night, in Munich, went off without a hitch as far as anyone on the floor could tell, with Kamelot attacking the stage like the seasoned veterans they are, playing to the audience rather than merely for them, accompanied by one of the most impressive lightshows ever seen in a rock club (seriously… and without pyro). It was a far cry from the band’s first European tour – their first road trip ever, in fact – back in 1998 with Elegy, which showcased a band that was understandably green performing to half empty rooms. A potentially demoralizing experience on one hand, but the taste was enough to make Kamelot want to push forward. Success at a level where the band became a day job was along time coming, but it’s a testament to what can be accomplished when you focus on and devote your time and energy to something you really want.

“You don’t have any pictures from that ’98 tour, do you?” laughs guitarist Thomas Youngblood.

Actually, I do. I’ll wait to be tapped for the Kamelot biography to publish them.

“When you get started you want to be like Iron Maiden, but then you start realizing how difficult that is,” says Youngblood with regards to the band’s success. “But the way things are nowadays in the industry, there aren’t a lot of bands that can get to that level. I think we’re fortunate we’ve been able to grow and maintain this band over the past 15 years. That’s pretty amazing. I think it’s a testament to working hard and making some smart decisions, and having killer fans.”

Kamelot’s biggest test came with the surprise departure of vocalist Roy Khan in September 2010, mere days before the Poetry For The Poisoned tour was due to begin. The band downplayed the seriousness of the situation at the time – they could realistically have lost their collective shirt financially due to pre-tour expenses and unfulfilled contracts – and managed to save face by finding the best possible replacement for Khan in Swedish singer Tommy Karevik.

“We didn’t think anything bad about that in terms of coming out of it intact,” Youngblood insists. “I’ve seen a lot of bands do that successfully, and I think a lot of people forget how many acts have actually had to do that. We’ve grown into different territories since then. We played Australia for the first time with Silverthorn, we’ve done different parts of Asia like Korea and Taiwan, and the US is a much bigger market for us now.” Continue Reading

In spite of what you may have heard, Mephisto is in fact French Canadian. And female.

This is a well worn fact amongst Kamelot fans, as vocalist Alissa White-Gluz – best known for fronting The Agonist – has played the role for the band’s epic set-closing ‘March Of Mephisto’ for over a year. And with all due respect to the other singers that have taken on the part since the song came to life on The Black Halo album – Shagrath (Dimmu Borgir), Snowy Shaw (Therion), Mark Jansen (Epica), Alexander Krull (Atrocity, Leaves’ Eyes), Paul Zinay (Blackguard) – Alissa owns it, hands down. You’d be hard pressed to find a Kamelot fan to argue against the suggestion that she’s become an integral part of the show.

“I’m doing what Elize was doing before,” Alissa says of her work with Kamelot, referring to Amaranthe vocalist Elize Ryd. “I do her parts as well as my own, like on ‘Sacrimony’, backing vocals, and the female voices that turn up in the band’s other songs. It’s a totally different show from The Agonist, which is funny because Kamelot toured with Delain in the US and the first show of The Agonist’s European tour was where Charlotte (Wessels/vocals) from Delain lives. She came to see us play and she was like ‘What the hell? You’re a completely different person up there…’ (laughs). She saw me doing the Kamelot thing for a month, so she was shocked to see how the whole death metal vocals are a big part of what I do outside of Kamelot. It was a lot of fun.”

Anyone familiar with The Agonist never would have figured on Alissa taking a job with a symphonic power metal outfit. Take a listen to any song in their catalogue other than her a capella rendition of ‘Swan Lake’ and you can’t hear the connection. Alissa will tell you different, however, and that she’s actually drawn to Kamelot’s sound.

“I think it’s because even though I perform the death metal stuff I’m not a death metal person. As much as I love the heaviness of The Agonist’s songs, it’s fun to actually be able to hear what’s going on in the music (laughs).”

As for switching from her hell bent Agonist attack to a slightly more civilized approach for Kamelot, Alissa reveals that switching gears wasn’t a problem ever after jumping from one European tour to another in the space of a week.

“I thought it would be hard to switch between the two but it was actually super easy. The thing is, I’ve always wanted to be a drummer or something where I could just sit back and watch the show, and not have too much attention on me. Now I’m kind of doing that with Kamelot, which is cool.” Continue Reading

I recently caught up with Kamelot guitarist Thomas Youngblood to discuss the band’s new record, Silverthorn. It’s what you’d call a big deal amongst Kamelot fans in that the album features new vocalist Tommy Karevik in place of Roy Khan, and it puts the band’s previous album Poetry For The Poisoned to shame. Reactions have been overwhelmingly positive across the board in spite of Khan’s absence – something that potentially could have cut Kamelot down at the knees – and most fans agree that Silverthorn is the album that should have followed Ghost Opera from 2007.

Silverthorn was planned as a concept album featuring a tale that’s too long to explain here, suffice to say that involves a tragedy, mystery and death. In other words, a story that’s tailor-made for Kamelot’s drama-fuelled symphonic metal approach. Vocalist Amanda Somerville, who has worked behind-the-scenes and recorded backing / guest vocals with Kamelot since The Black Halo in 2005, was on board for Silverthorn as a backing / choir vocalist, and she wrote the story as it appears in the book included with the limited edition box set of the album.

We took some time out from assorted travel madness to discuss her part in the production.

“They had the concept thought out first,” Somerville begins. “Sascha (Paeth / long-time Kamelot producer) and Tommy did the songwriting and they came up with bulletpoints, so they had the main outline of the story for me. The songs are like the details of the story that are still kind of left open to interpretation. We had a Skype session and they explained what they had in mind, but they didn’t have the story with the specific events of what actually happened. For example, they told me the story should start with two brothers and their sister; they’re doing something together, a tragic event takes place, and she dies. I asked how she was supposed to die and they didn’t know, so I came up with situation and scenario. I basically fleshed everything out.”

“I also came up with the way the killings in the story start happening. It’s told from the ‘good brother’s’ perspective, and I thought it would be cool to make it so that it wasn’t quite clear if he really has a twin or if he’s schizophrenic. I mean, we never learn the good brother’s name. It leaves the question open as to whether it might be him doing all these weird things. I wanted it to be intriguing and suspenseful. The time limit and the page limit and the budget made it hard to get all the details in there, so I had to make do with writing the story over 10 pages.” Continue Reading

“The new record turned out better than I expected and the reaction has been phenomenal. It’s a testament to the fans and their love for this band. Everyone is so re-energized, it’s awesome.”

Things could have been very different for guitarist Thomas Youngblood and his Kamelot bandmates. Following the recordings for their Poetry For The Poisoned album in 2010 and only days before the band was due to embark on a fall headline tour, vocalist Roy Khan fell ill and plans were shelved until the end of the year. Although it hasn’t been said out loud – at least not to the extent that the press jumped all over it – Khan’s tenure with Kamelot was done at that point, both sides making it official in April 2011. The writing was on the wall when the band opted to hit the road prior to the announcement with Rhapsody Of Fire frontman Fabio Lione filling in and doing a decent to killer job depending on who you talked to. By many accounts he was a worthwhile prospect as Khan’s successor. In the end, however, Kamelot opted to enlist little known singer Tommy Karevik from the Swedish band Seventh Wonder as the band’s new voice, and the result is outstanding according to a ravenous fanbase.

“I think fans are more willing to accept a band changing the singer as long as he or she has similar characteristics to the one they had for 13 years.” says Youngblood. “It would have been hard for us to bring in some power metal singer or an opera singer that didn’t have the tonal characteristics the fans want. That’s what I wanted for the band. For me, having Tommy in the band is a no-brainer.” Continue Reading

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